Edward C. Wellman III - Director Of Bands

Kevin Lehman - Percussion Instructor

Kassie Mason - Percussion Instructor

Concert Program

Jazz Band

Alamode by Curtis Fuller arr. Paul Murtha

Soloists: Evan B. Hoing - Bass, Linn Poston - Trombone

C'mon Back by Lennie Niehaus

Soloists: Alex Trilk - Trumpet, Reid Pleuss - Piano, Owen Shaw - Alto Saxophone

Vehicle by James M. Peterik arr. Ralph Ford

Soloists: Owen Shaw - Alto Saxophone, Linn Poston - Trombone, Luke Rounds-Ortiz - Trumpet, Harrison Bashus - Bass, Evan B. Hoing - Guitar

Percussion Ensemble

Big Yellow Mambo by David Steinquest

Allegro Barbaro by Bela Bartok  arr.  David Steinquest 

Mau Mau Suite by Thomas L. Davis

I. Bwana

II. The Natives Are Getting Restless

III. Take Me To Your Leader

Noises On by Chris Crockarell

Soloists: Case Meyer and Reid Pleuss

Concert Band

A Hymn For Band by Hugh M. Stuart arr. Johnnie Vinson

Darklands March by Randall D. Standridge

Wind Ensemble

The Thunderer by John Philip Sousa arr Keith Brion & Loras Schissel

Air For Band Frank Erickson

Combined Band

Voodoo by Daniel Bukvich  (Performed in darkness with flashing lights and loud sudden noises.)

Voodoo was a commission for the Idaho All-State Band in 1984. The piece was written specifically for the setting it would be premiered in, a gymnasium. Mel Shelton, a professor of conducting and composition at Boise State University, conducted it and was instrumental in pulling off the first successful performance of the piece.

The educational purpose of the piece was to challenge the performers to listen to each other. "To accomplish this, it occurred to me to turn the lights off." The piece is supposed to be performed from memory, without a conductor. It is as much a theatrical event as a piece of music, calling for the use of flashlights, arm waving, chanting, singing, blowing into brass mutes, surrounding the audience, and playing on parts of wind instruments, such as mouthpieces, trombone slides, and trumpets with tuning slides removed.

Voodoo, the band piece, is in no way related to the practice of religion. The name of the piece is derived from a conversation Bukvich had with his friend who was a missionary nun living in Guatemala. "She told me that the sounds of the jungle, at night time, reminded her of 'those old Voodoo movies' they used to watch," he said. Many of these "sounds of the jungle" are imitated in Voodoo, the band piece. The primary melodic material is loosely based on a favorite Gregorian chant; he simply finds the melody appealing. It is also a smooth, flowing, conjunct melodic line which works well while singing the word "voodoo."

- Program Note by Daniel Bukvich